Wednesday, October 30, 2019

Volver (2006)


☆ ☆ ☆ ½


Volver (2006) – P. Almodóvar

There are some darker undertones here in what otherwise is a “fun” ghost story from Pedro Almodóvar.  As usual, his film features women in the major roles and their relationships are the focus – the darkness arises from how women are treated by men.  Penelope Cruz plays Raimunda, a woman whose mother (Carmen Maura) has died three years earlier (in a fire with Raimunda’s father).  She suddenly finds herself a single mum and makes due by taking over an empty restaurant and serving a visiting film crew lunch for a few weeks (and also staging their wrap party).  She doesn’t know that her sister (Lola Dueñas) has been receiving ongoing visitations from her mum, which began soon after the mum’s sister passed away.  A subplot finds the aunt’s neighbour on a quest to find her own missing mum.  Almodóvar’s world is a candy-coloured one, filled with chatty eccentric characters who deal with mundane (and deadly serious) problems with aplomb. The fantastical and supernatural elements are generally played for comic effect (but the soundtrack feels like something Bernard Herrmann wrote for Hitchcock at times).  Of course, all of the various plot threads are nicely tied together by the end (although viewers might not be able to shake off some of the darkness).  I find Almodóvar’s films to be hit or miss and while this one falls on the positive side of his oeuvre, I can’t help feeling that it is just a shade too slight (although that may just be the director's talented sleight of hand, making complicated themes go down smoothly).   

Tuesday, October 22, 2019

Where the Sidewalk Ends (1950)


☆ ☆ ☆ ½


Where the Sidewalk Ends (1950) – O. Preminger

There are a few moments in the film where Dana Andrews is faced with a moral dilemma: reveal just how badly he has screwed up and pay the consequences or continue to try to cover things up, including to his new love interest (Gene Tierney) whose father is likely to go to jail in his place, and possibly get away with it.  At the end, he just gazes past the camera and lets it all sink in.  This moment could be the best acting in Andrews’ career. He could go either way.  This being film noir, we aren’t sure.  Director Otto Preminger (working from a screenplay by Ben Hecht) expertly orchestrates the tightening of the screws: Andrews is first warned for beating up perps and then placed in a situation where he has to strike someone in self defence (who immediately croaks).  His desperation is palpable and it only gets worse as he tries to help the innocent man who might take the fall in his place.  Karl Malden and Gary Merrill show up in supporting roles (on either side of the law).  Preminger’s other noirs (Laura, Angel Face, Whirlpool) vary in quality but none of them are particularly distinguished by the classic noir visual style (as far as I recall). Nevertheless, the situation of being trapped by one’s own flaws makes this an archetypal entry in the genre. 

Thursday, October 17, 2019

Good Time (2017)


☆ ☆ ☆ ½


Good Time (2017) – B. Safdie & J. Safdie

Benny and Josh Safdie are hot indie directors and this 2017 feature may be their breakthrough (the first of their films I’ve watched).  Robert Pattinson stars as Connie, a hoodlum (more or less) who stages a bank robbery with his intellectually disabled brother, Nick (Benny Safdie).  When it goes wrong and Nick is jailed, Connie seeks to break him out (but it turns out he’s been relocated to a hospital after getting beaten up in a prison fight).  Thus begins a rather epic night that sees Connie travel from the bail bondsman’s office to the hospital and points beyond (a closed amusement park) as his plans fall apart.  The soundtrack by Oneohtrix Point Never (pulsating electronic music) really makes the film and gives it a druggy overtone that isn’t contradicted by the action we see (and the film’s visual sense).  Pattinson inhabits the character well and pretty much disappears into it (esp. after his hair is bleached).  The desperation onscreen (punctuated by sudden jolts of violence) is pretty palpable.  So, the film might give viewers a rush of sorts. There is also some pretty black comedy afoot (possibly in bad taste).  But when things suddenly ground to a halt 100 minutes later, I guess I was left wondering what the point of it all was.